Abu Dhabi Art 2012

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Inquiry regarding: Nasser Al Salem - Kul II

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Sami Al Turki, Ruler, 2012

Fine art print on archival paper, 140 x 200 cm (55 1/8 x 78 3/4 in.)

From Barzakh series, Edition of 3 + 2 AP

SAT0240

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When seeing these lasting unfinished constructions, one cannot help but think that there is a monetary problem within the city, a recession of sorts, a problem in the form of a disobedient nature, corruption and dishonesties that question morals. The city must be going through or has been for some time, a kind of collapse, in order to build such buildings and leave them either incomplete or semi abandoned for a prolonged periods.

So how do structures like these, stand and until when? What must be the financials of the peoples involved to allow this to happen on a recurring basis? When will reestablish a rational reasonable system that would allow all these concerns to operate in a better form? Yet it is difficult to raise such questions without consequences, which could endorse self-inflecting wounds per say.

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Sami Al Turki’s eclectic and varied style is a reflection of both his diverse cultural upbringing and the confused occidental vs. oriental atmosphere of Dubai. His art is fuelled by what happens around him. He wants to comment on it and find the most powerful way to manifest both his environment and its subjects, and the deeper, more conceptual implications of all that his lens captures.

The Washaeg series speaks of an empty world with an apocalyptic vision for global culture. His lens captures the void, which was once built on with majestic structures. What is left are fortified walls encircling nothingness

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Sami Al Turki’s eclectic and varied style is a reflection of both his diverse cultural upbringing and the confused occidental vs. oriental atmosphere of Dubai. His art is fuelled by what happens around him. He wants to comment on it and find the most powerful way to manifest both his environment and its subjects, and the deeper, more conceptual implications of all that his lens captures.

The Washaeg series speaks of an empty world with an apocalyptic vision for global culture. His lens captures the void, which was once built on with majestic structures. What is left are fortified walls encircling nothingness

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The basic function for the Arabic language associated with a foreign language film shown on the screen... is translation. It works in the context of the film as a narration of the story and an explanation of the action that accompanies it ... and thus the meaning of the picture precedes that of the language and specifies it.

The language, when deducted from its cruel context and re-exported with the image of the new still captured photo, changes its function from confirming the meaning to producing it, by transforming itself to a unique source of new mental images with no past or function.

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Inquiry regarding: Ayman Yossri Daydban - Abyssinia

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Ayman Yossri Daydban, The Bell, 2012

Stainless steel

AYD0404

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Inquiry regarding: Ayman Yossri Daydban - The Bell

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Maha Malluh, Hand in Hand I, 2012

C print diasec mounted on dibond, 100 x 80 cm (39 3/8 x 31 1/2 in.)

From the series Tradition & Modernity
Edition of 3+1 AP

MM0024

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